Jones did little to disperse these concerns in the first half of Moon. Sam Rockwell plays Sam Bell, the lone operator of a energy mining enterprise on the moon.  He’s coming close to finishing up his three-year contract, and the loneliness and isolation are getting to him.  His only companion is an artificially-intelligent computer named Gerty (voiced by Kevin Spacey).  An accident forces everyone to presume Sam is dead, and a clone of Sam takes his place, only to discover the original Sam isn’t dead, leaving the two of them alone on this moon station.  From this point, you’ll think you have it all figured out.  But I promise you, you don’t.

The highest praises should go to Mr. Rockwell.  His solo performance is grounded, and moving.  But the really impressive stuff starts when he plays both Sam, and Sam’s clone.  The slight differences in the character force Rockwell to be both the protagonist and antagonist, fighting, arguing, and enjoying the company, of well, himself.  This is no small feat, and he makes it look easy.  Along with these demands, the failing health of the original Sam (not to mention three years out of the sun) requires a daunting physical performance, pulled off with flying colors.

Jones produced the original story, and was aided by Nathan Parker who produced a script (this is Parker’s first writing credit).  Jones depiction of outer space is refreshing when compared to the other Sci-fi flicks like Abrahm’s Star Trek, showing more of a dark, lonely place, one where minds start to turn on themselves.  Despite having a small budget, the minimal effects were done quite well, making it much easier for the viewer to suspend belief.  Jones managed to do what Danny Boyle did with Sunshine: make the genre less of the focus, and zero in on the human conflict and struggle, which makes this film more interesting than most.

3 out of 4 stars

For three years after being forced from office, Nixon (a mind blowing performance by Frank Langella who won a Tony for his portrayal of NIxon on Broadway) remained silent. But in summer 1977, the steely, cunning former commander-in-chief agreed to sit for one all-inclusive interview to confront the questions of his time in office and the Watergate scandal that ended his presidency. Nixon surprised everyone in selecting David Frost (Michael Sheen who couldn’t look more comfortable in the70s surroundings) as his televised confessor, intending to easily outfox the breezy British showman and secure a place in the hearts and minds of Americans. Likewise, Frost’s team harbored doubts about their boss’s ability to hold his own. But as cameras rolled, a charged battle of wits resulted. Would Nixon evade questions of his role in one of the nation’s greatest disgraces? Or would Frost confound critics and bravely demand accountability from the man who’d built a career out of stonewalling? Over the course of their encounter, each man would reveal his own insecurities, ego and reserves of dignity–ultimately setting aside posturing in a stunning display of unvarnished truth (imdb.com).

Howard comes back with this film after a completely disappointing The Da Vinci Code 2006 (and unfortunately, his next project is Dan Brown’s Angels & Demons).  While he can’t completely wipe out the bad taste left in my mouth from his last film, he does deserve all buzz this film is getting.  The acting is superb, truly, one of the best ensemble casts of 2008 (perhaps only beat by Van Sant’s Milk).  Howard deserves credit for keeping a Kevin Bacon who bit off more than he could chew in check, and off screen most of the time. A terrific script is provided by playwright Peter Morgan who adapted his own play for the screen.  If the subject matter wasn’t so subtle, this could be considered a revenge movie.  The tyrannical Nixon brought to his knees by the more humble layman.  Out of the nominees this year for Best Actor, Langella really should win, hands down, his potrayal of tricky Dick is astounding.  Even if the subject matter bores you, watch it for Langella.  In the same vein, the art direction should be praised as well.  Brian O’Hara and Gregory Van Horn (Wild Hogs… I know, right?) brought the 70s to life without putting too much focus on bell-bottoms and big hair.  The feel of the film is just right, and it takes a relatively boring subject and makes it larger-than-life-relevant.  It’s brilliant.

4 out of 4 stars

Choke was no exception.  The story follows Victor (Sam Rockwell), a sex-addict that works at colonial Williamsburg as a tour guide.  His mother (Angelica Houston), who f-ed him right up with her poor parenting skills, is dying because she forgets to eat due to her Alzheimer’s.  Victor works full-time to afford his mom the expensive private nursing home that he still can’t really pay for.  He devised a plan to ‘accidentally’ choke in public places where he relies on strangers to save his life.  These strangers feel bonded to him for life and send him money on his birthday, at Christmas, and when he writes them with sob stories about medical expenses and such.  There’s the occasional dysfunctional love interest, and the sex-addict best friend plays his part.  All in all, the book is truly a dirty-minded satire that his hilarious, dark, and meaningful.

Unfortunately, director Clark Gregg, who adapted the screenplay, kind of screwed the book up.  The movie is fine, the directing is fine, the acting is better than average, but Gregg dumbed down Palahniuk’s novel to make it a more mainstream comedy.  Instead of depending on the nihilism that Palahniuk captures so well in his novels, Gregg depends on showing girls jogging in slow motion to get his giggles.  In addition to this, Gregg strays from the main plot and cuts out, what I felt at least, was a very important plot line. I saw this film at Sundance this year, and although everyone fell all over themselves to kiss Gregg’s and Palahniuk’s ass during the Q&A, the truth is this: the film doesn’t come close to the excellence of the book.

The actors do their jobs well.  Sam Rockwell (who plays Victor) seems to get the original mood that was intended and plays his part so hilariously, he’ll stick with you for days.  The narrative is coherent enough, and you’ll definitely be interested in the sordid, off-color plot. Choke really will make you laugh, it just doesn’t do the book justice.

2.5 out of 4 stars

Rottentomatoes: 85% – Cream of the Crop: Currently not enough top critic reviews